“Remember when you were three or four years old and you would just scribble or smear paint around for the fun of it? At this time in your life, you were totally absorbed in the creative process, and you never gave a thought to what your paintings looked like or what it was that you were tyring to say or express. As we move along in life, we tend to lose this sense of play and spontaneity that we had so naturally as young children. Here’s a story that illustrates this point. An art teacher arrives at a friend’s house for dinner and is introduced to his host’s kindergartener. The little girl asks the guest, “what do you do?” He replies, ” I teach art students to paint and draw.” Looking confused , the little girl says , “Why? Did they forget?” Indeed, sometimes we do forget that we were born with powerful instincts to create and that those instincts can get trampled along the way by all the adult responsibilities and baggage that come with age and experience.
In this chapter, I am asking you to revisit those basic creative passions that were so strong in your childhood by sticking your fingers in paint and playing for the pure pleasure of the process. If you can suspend your inhibitions about acting like a kid for a few hours, the exercises in this chapter will help you find the roots of your creative intuition and inspire a renewed sense of excitement and adventure in your art-making. Exercises listed are: ACTION PAINTING, PAINTING WITH STRAWS, PAINTING WITH COMMON OBJECTS,PAINTING TO MUSIC-BLINDFOLDED, AUTOMATIC DRAWING, 30 SKETCHES IN 30 MINUTES, OBSERVE AND DRAW SHADOWS, CREATE ART GAMES, SPEAK IN MARKS, SHAPES AND COLORS,DRAW A CONCEALED OBJECT USING ONLY YOUR SENSE OF TOUCH…”
Art From Intuition – Overcoming Your Fears and Obstacles to Making Art – More Than 60 Drawing & Painting Exercises by Dean Nimmer
Many , if not most, artists have music on in the background while they are painting or drawing because there is a natural rapport between these two art forms. In certain forms of improvisational music, like jazz, the musician and visual artist are both relying heavily on their sense of intuition to guide them. The process of improvisation is more apparent in music than in visual art because you can usually hear the experimentation in the music, but you can’t always see when an artist is improvising rather than following a predetermined plan. During some of my lectures, I’ve demonstrated that it is just as reasonable to describe a painting in vocalized sounds – humming, whistling, yelping, gurgling, etc. – as it may be to describe a piece of art in conventional language, but I may be quite alone in that assertion. ” -Dean Nimmer-
” I make my paintings listening to live music that is being performed in front of an audience in bars or jazz music clubs. In other words, I set up my canvas and materials right there in the club, and I paint directly when the group is playing. These paintings are my interpretations of the sounds, rhythms , and movements that I hear and see at these events. My paintings are purely spontaneous and impromptu expressions of the music I hear. I paint what I feel subjectively, rahter than trying to ‘picture’ what I hear. This type of painting has helped me break down my own barriers between painting what I see and painting what I hear in music, and that process is a new visual language in oil paint.” -Kristen Mills
Art from Intuition – Overcoming Your Fears ande obstacles to Making Art by Dean Nimmer
” Kandinsky is painting music. That is to say, he has broken down the barrier between music and painting and has isolated the pure emotion which, for want of a better name, we call the artistic emotion. Anyone who has listened to good music with any enjoyment will admit to an unmistakable but quite indefinable thrill. He will not be able, with sincerity, to say that such a passage gave him such visual impressions, or such a harmony roused in him such emotions. The effect of music is too subtle for words. And the same with this painting of Kandinsky’s. Speaking for myself, to stand in front of some of his drawings or pictures gives a keener and more spiritual pleasure than any other kind of painting. But I could not express in the least what gives the pleasure. Presumably the lines and colours have the same efect as harmony and rhythm in music have on the truly musical. That psychology comes in no one can deny. Many people- perhaps at present the very large majority of people – have their colour- music sense dormant. It has never been exercised. In the same way many people are unmusical- whether wholly, by nature, or partly, for lack of experience. Even when Kandinsky’s ideas is universally understood there may be many who are not moved by his melody. For my part, something within me answered to Kandinsky’s art the first time I met with it. There was no question of looking for representation; a harmony had been set up, and that was enough.”
Translator’s ( M.T.H. Sadler) Introduction to ,Wassily Kandinsky – Concerning the Spiritual in Art
” The great creators tend to have talent. They reveal a natural knack for thinking and doing in their specialties. Whether gifted in mathematics, music, drawing, or whatever, they find that those gifts support their creative endeavors. An apt example of such talents, again, is Mozart’s musical memory. Mozart reportedly had a phenomenal memory for music – both others’ and his own – and this memory served him well, making possible an in-the-head approach to composing which would not have worked for another. So, it’s natural to urge a talent theory of creativity. If creativity is whatever a person has that makes the person creative, then that “whatever” might be talent.
proposition: Creativity derives from a talent or set of talents.
This propostion does not state the issue too well . It would be odd to say that Mozart’s musical memory caused his creativity. True, perhpas it made it possible the sort of music Mozart composed. Certainly it made possible his approach to composing. But just as certainly someone else might have had an equally potent memory and used it quite uncreatively . As with Mozart’s memory, so too in general a talent might relate to creating only in allowing a certain order of creative achievement, but without at all making the person creative. Such talents, even if extraordinary, aren’t properly a part of a person’s creativity , because a person could have those talents without being creative. What would a specifically creative talent be like? It might be an ability for ideas getting or insight, for instance. Whatever its form, having such a talent should in itself make the person that much more creative.”
The Mind’s Best Work by D.N. Perkins